Hello and thank you for visiting AikiWeb, the
world's most active online Aikido community! This site is home to
over 22,000 aikido practitioners from around the world and covers a
wide range of aikido topics including techniques, philosophy, history,
humor, beginner issues, the marketplace, and more.

If you wish to join in the discussions or use the other advanced
features available, you will need to register first. Registration is
absolutely free and takes only a few minutes to complete so sign up today!

I am currently developing and testing a way to explain how I keep my center in my practice. People that have heard my explanation likes it and find it useful for his practice so i'd like to share it with you for talk about it. (I don't know if it exist and if so, please point me where to study it!!)

The mental image I'm using for this is as follows:

Imagine that you have a half-sphere filled with liquid at the place where the hara is said to be placed.
Your mission is to move your whole body in any way that you think that can makes the liquid surface to vibrate as little as possible to avoid spilling it on the floor.
Remember the experience of walking while carrying a glass full of water in our hands and how our whole body moves in order to prevent the spilling when someone step on us.

I think this mental image is useful for training several things at once:

1. To keep the body as straight as possible to avoid the water being spilled easily.
2. To deflect or absorb and integrate the uke attacks in our body without colliding. A collision makes our water vibrate and spilled on the floor.
3. To reach uke attacks an no waiting for him to come. Is easy to mantain the liquid calm if we contact uke as soon as posible where we want to be.
4. To connect to uke. I way of keep the water in place is to maintain unity with uke to sense his movements and react to keep the water in calm.
5. To avoid making extra movement when we receive uke's attack. by moving more than necessary we add more vibration to our water surface an increase the risk of spilling
6 ...

In Spain it is a little late to continue writing, i will continue tomorrow if you are interested on this. Sorry if my english is not good enought i will try to improve.

It's a good metaphor. It might be useful if you combine it with the exercise of having people walk carrying a container of water -- something bigger than a glass of water. It's a good way to really become aware of unevenness in your gait, tension in your body (which translates to the water -- I think it's possible to be "centered", in a sense at least, and also so tense that you're effectively frozen in place, because you can't move smoothly). I like it because it demystifies some terminology that, IMO, often acts as an "emperor's suit of clothes", such as "connect with uke" (which, whatever their mystical/ethereal dimensions, have a physical basis and need to be understood as such). Fun to try, anyway, and see what happens.

It's a good metaphor. It might be useful if you combine it with the exercise of having people walk carrying a container of water -- something bigger than a glass of water.

Yes. For me is like imagining having a semi-sphere of the size of your waist, inside you. You can play with that imagining diferent kind of liquids like oil (more difficult to spill with little vibrations), water (easyli spllled), etc.. to adjust it to your skill level. The point is trying to keep the liquid inside and the less vibrating you can.

I'm actually playing with the size an position of that imaginary semi-sphere, For example im studying how i react when i imaging having it on muy hand while uke is grabbing my wrist. I usually find easy to move freely, bending arm and walking without letting uke to displace the position of my wrist and maintaining connection.

Quote:

Mary Malmros wrote:

It's a good way to really become aware of unevenness in your gait, tension in your body (which translates to the water -- I think it's possible to be "centered", in a sense at least, and also so tense that you're effectively frozen in place, because you can't move smoothly).

Agree, You have to be smooth in your movements and well grounded and with a kind of active-relaxation (the more relaxed the more options to avoid spilling moving your body and beter sense of uke actions)

Quote:

Mary Malmros wrote:

I like it because it demystifies some terminology that, IMO, often acts as an "emperor's suit of clothes", such as "connect with uke" (which, whatever their mystical/ethereal dimensions, have a physical basis and need to be understood as such). Fun to try, anyway, and see what happens.

I'm glad you like it. Tell me if you try!. I would like to hear your experiences!. I really do need to know other experiences to improve this kind of "tool".

Stuart McGill - The Ultimate Back. backfitpro.com
His DVDs on how to strengthen and stiffen the core for making best use of the body structures.
It's not "aikido specific" - it's high performance sports specific - where there's money riding on whether the (name sport here)"ist" gets it right.

Yes. For me is like imagining having a semi-sphere of the size of your waist, inside you. You can play with that imagining diferent kind of liquids like oil (more difficult to spill with little vibrations), water (easyli spllled), etc.. to adjust it to your skill level. The point is trying to keep the liquid inside and the less vibrating you can.

Sure, but why stop at imagining? I think it would be worthwhile to actually carry the liquid. Otherwise, I can see a person with illusions about their "centeredness" (or whatever) imagining their imaginary liquid being perfectly still. A real liquid won't conform to your imagination; it will only answer the laws of physics.

Sure, but why stop at imagining? I think it would be worthwhile to actually carry the liquid. Otherwise, I can see a person with illusions about their "centeredness" (or whatever) imagining their imaginary liquid being perfectly still. A real liquid won't conform to your imagination; it will only answer the laws of physics.

posted a description of an exercise last year http://www.aikiweb.com/forums/showpo...3&postcount=34 it really is a centering exercise, at least at the beginning. the thing about this exercise is you don't have to imagining things. me, i don't care for imagining things, because i imagine i won a lottery, but it has not happen so far. wonder if i should buy a ticket though.

posted a description of an exercise last year http://www.aikiweb.com/forums/showpo...3&postcount=34 it really is a centering exercise, at least at the beginning. the thing about this exercise is you don't have to imagining things. me, i don't care for imagining things, because i imagine i won a lottery, but it has not happen so far. wonder if i should buy a ticket though.

I have read your post and that is exactly what i have developed with this kind of water imagery. I feel presure on my foots trough my spine from the point of contact creating that kind of "paths". Perhaps im doing more things than those im trying to explain with this exercise.

I have a question unresolved about that. When i have that path created from a wrist grab (by ex), I move my center trying not loosing that path and the presure on my partners hand increases. Im trying to avoid that pressure but I donīt have any clues of how to do it.

I'm reading some of your post and are interesting. I will keep reading you!.

Sure, but why stop at imagining? I think it would be worthwhile to actually carry the liquid. Otherwise, I can see a person with illusions about their "centeredness" (or whatever) imagining their imaginary liquid being perfectly still. A real liquid won't conform to your imagination; it will only answer the laws of physics.

In my early martial training, I got a 4 foot rope with a 10 pound weight attached to the end. The other end of the rope was attached inside a 6 inch long PVC pipe. That was my handle. I would twirl the weight around me using my ankles, knees, and waist. Minimum use of shoulders and arms.

I have a question unresolved about that. When i have that path created from a wrist grab (by ex), I move my center trying not loosing that path and the presure on my partners hand increases. Im trying to avoid that pressure but I donīt have any clues of how to do it.
.

you don't have what Ikeda sensei called "Unity", i.e. you and your partner becomes one unit. there are three pieces that Ikeda sensei normally mentioned: connected, unity, move your inside. they are in that order. see if you can connect to your partner spine. do not struggle at the connection point which most folks tend to do.

In my early martial training, I got a 4 foot rope with a 10 pound weight attached to the end. The other end of the rope was attached inside a 6 inch long PVC pipe. That was my handle. I would twirl the weight around me using my ankles, knees, and waist. Minimum use of shoulders and arms.

I kept my center stable as the forces pulled me in all directions.

you didn't try to hang that on your other body part, like them shaolin monks did you?

you don't have what Ikeda sensei called "Unity", i.e. you and your partner becomes one unit. there are three pieces that Ikeda sensei normally mentioned: connected, unity, move your inside. they are in that order. see if you can connect to your partner spine. do not struggle at the connection point which most folks tend to do.

What is the difference among connected and unity?

Im often feeling something like extending my ŋbalance? Like it were running throught my feet and from the inside of my arm and then to my partners shoulder. is that connection?. Sometimes, and dont ask me how, i manage to full unbalance my partner wit a little twist from my shoulder but i dont know how to move him in any directiob without increasing pressure. Any idea to practice?

Im often feeling something like extending my ŋbalance? Like it were running throught my feet and from the inside of my arm and then to my partners shoulder. is that connection?. Sometimes, and dont ask me how, i manage to full unbalance my partner wit a little twist from my shoulder but i dont know how to move him in any directiob without increasing pressure. Any idea to practice?

I can't really tell what you are doing so it would hard to say. a few minutes of hand-on time would fix things. IHTBF. when you start to work on this, you have to do it light and work up. it will take time for your body to change. i mentioned somewhere that it took me two years to get my body to change enough for me to feel it, and longer to be able to use it. there are a number of folks over there that work on these stuffs that could help to give you the right feedback.

I can't really tell what you are doing so it would hard to say. a few minutes of hand-on time would fix things. IHTBF. when you start to work on this, you have to do it light and work up. it will take time for your body to change. i mentioned somewhere that it took me two years to get my body to change enough for me to feel it, and longer to be able to use it. there are a number of folks over there that work on these stuffs that could help to give you the right feedback.

I have read the entire post you linked up and the "moving your inside" thread. (missing yet the explanation of the for legged "put animal here").

I think i manage to get some sort of that you call unity. In one of your comments you said that when you sense uke you have unity. Im able to feel throught a contact point; the tense up parts of uke's body, how his structure reorganizes when he react to my movements, where uke's balance is heavy loaded, his tiredness or degree of commitment. However Im not able to take advantage of this "unity" and manipulate it correctly without some degree of disconnection when I start a movement. I have a bad feeling on this, is like having something near but something with you cannot play and enjoy.

I started to feel that two years ago and its weird, it feels like kind of holding a big snake with one hand in the air and trying to keep it vertical in place absorbing its waves by constantly adjusting your body to avoid him scape or bite your head, but not being able to put it in a bag!

you didn't try to hang that on your other body part, like them shaolin monks did you?

Actually I did do dit bu Sam in my early years. It makes for some powerful core strength and flexibility.
Make sure to use silk to tie those weights. And breath slowly or you'll be hurt.

More practical were the "human resistance" exercises. But you need to get beyond the sime pushing against erect postures (standing or seiza)

The upper torso needs to be developed as if there were a "springiness" in the spine.
The pelvic girdle is the base, the thoracic and lumbR vertebrae are the spring. If pushed in any direction, the base remains (single weighted as much as possible) and the back muscles literally spring backward (suck-in opponent) and then back at the opponent (spit-out).

We used to do this starting with 1 dimensions (depth) and then all 3 dimensions. Finally, in push hands, the receiver only defends while the attacker is mobile, trying to push him at any and all angles. The defender ultimTely has to change stances a bit but the less he changes stance, the more he learns to use this flexible torso to guard his center.

I have read the entire post you linked up and the "moving your inside" thread. (missing yet the explanation of the for legged "put animal here").

I think i manage to get some sort of that you call unity. In one of your comments you said that when you sense uke you have unity. Im able to feel throught a contact point; the tense up parts of uke's body, how his structure reorganizes when he react to my movements, where uke's balance is heavy loaded, his tiredness or degree of commitment. However Im not able to take advantage of this "unity" and manipulate it correctly without some degree of disconnection when I start a movement. I have a bad feeling on this, is like having something near but something with you cannot play and enjoy.

four-legged animal. it's a terminology i got from mike sigman. you and your partner when fully connected becomes a four-legged animal with whoever better at it will becomes the head section where you control the movement of the entire animal. sounded like you are not really connected or you are trying to overpower the connection. it has to be very subtle. don't know if you have seen Ikeda sensei or not. his approach is all about subtlety, not overpowering.

here is what i called the Ikeda 3-steps approach. you want your partner to move to the right.
1. push slightly to the right
2. then in toward your partner
3. then again to the right
so it's right-in-right and repeat in small increment. once you get used to that, then it will be just one step. however, methink, that you need to work on the internal connectivity more. i believed one of dan's mantra "aiki in me before aiki in you" and sigman has similar statement involved jin. you are trying to do the "aiki in you" portion.

...it has to be very subtle. don't know if you have seen Ikeda sensei or not. his approach is all about subtlety, not overpowering.

I have seen Ikeda sensei but I havenīt been in any of his seminars. I will try to go to France where he is teaching a one week seminar.

Quote:

Phi Truong wrote:

here is what i called the Ikeda 3-steps approach. you want your partner to move to the right.
1. push slightly to the right
2. then in toward your partner
3. then again to the right
so it's right-in-right and repeat in small increment. once you get used to that, then it will be just one step. however, methink, that you need to work on the internal connectivity more. i believed one of dan's mantra "aiki in me before aiki in you" and sigman has similar statement involved jin. you are trying to do the "aiki in you" portion.

I will try those steps. I'm doing something similar but in another order i think but i will try yours.
What i do is trying to maintain the forward into my partner and at the same time push to the right without losing that forward. My forces go as an "L" (if you imagine you are watching us from the ceiling) and our connection point is where the two segments of the letter joins. By doing this i often feel a kind of "/" resultant direction where uke usually falls with his body alone.

I will try those steps. I'm doing something similar but in another order i think but i will try yours.
What i do is trying to maintain the forward into my partner and at the same time push to the right without losing that forward. My forces go as an "L" (if you imagine you are watching us from the ceiling) and our connection point is where the two segments of the letter joins. By doing this i often feel a kind of "/" resultant direction where uke usually falls with his body alone.

the pressure at the connection shouldn't change. if it does then you either lost the ground path to the connection point and/or you are shearing the connection. one other thing, make the other person arm your own, i.e. the connection point is your elbow and the other person shoulder is your hand.